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Op. 64 No 2, Waltz in C♯ minor

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b. 65-96

composition: Op. 64 No 2, Waltz in C♯ minor

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In A (→GE), the entire section is written in a four-flat key signature. In the proofreading of FE (→EE), Chopin changed the notation to the one compliant with D major, prevailing in this section. AI also includes the correct notation with five flats. The notation of As, in which there is no key signature for this section, does not allow us to clearly answer the question whether Chopin considered flats before g notes to be necessary or not – he wrote them in bars 68-70 and 79-80 and omitted in bars 71-76. Considerable evidence of uncertainty surrounding the number of signs in the key signature can be found in the notation of, e.g. the Mazurkas in G minor, op. 33 no. 1 or in C minor, op. 63 no. 3, and less tangible – also in many other situations in various compositions.

Since the difference does not have any impact on the sound of music, and the notation with five flats, more convenient for the reader, was eventually introduced by Chopin, we adopt it as the only one and we do not record differences in notation resulting from the distinct number of flats in the key signature. The original notation of A and GE is conveyed by their versions "transcription".  

category imprint: Differences between sources; Source & stylistic information

issues: Chopin's hesitations , Errors of A , Authentic corrections of FE , Last key signature sign

b. 65-93

composition: Op. 64 No 2, Waltz in C♯ minor

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The pedalling is only in the version prepared for print – As and AI have no indications. In the main text, we reproduce the notation of A. In the editions, the  signs were placed inaccurately in many situations, e.g., in bars 66, 70 and analog. after the 3rd crotchet or under it instead before. Other, more significant differences are discussed separately – cf. bars 72, 73, 75-76, 85-86 and 88-89.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in FE , EE inaccuracies

b. 65

composition: Op. 64 No 2, Waltz in C♯ minor

d in As & AI

D in A (→FE→GE,EE)
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We assume that out of two notes written in As at the beginning of bar 65, d is intended for this bar, whereas D – for bar 81, which, like the entire second half of this section, is not explicitly written in the draft. AI features d in both bars, whereas the version intended for print – D in both bars.
The discussed d looks actually like a c in As; such inaccuracies were very frequent in Chopin's drafts. Due to this reason, in order not to divert attention from genuine textual differences, we do not reproduce this notation even in the version transcription, since the correct pitch of the note is undisputed. Analogously in similar situations.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Inaccurate note pitch in A , Bass register changes

b. 66-71

composition: Op. 64 No 2, Waltz in C♯ minor

Repeated notes in As, AI & A (→FE→EE)

Tied notes in GE & FED
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Both source versions of the melody at the transition between bars 66 and 67 and 70 and 71 are almost certainly authentic. In the main text, we give an unequivocally authentic version with repeated e2 and f2 notes written in the base source, A (→FE→EE). The version with sustained notes – FED and GE – can be considered an equal variant.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , GE revisions , Authentic corrections of GE

b. 66-67

composition: Op. 64 No 2, Waltz in C♯ minor

Chords in As

Chords & fifths in AI

a on 3rd beat in A (→FE→GE,EE)
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In the previous manuscripts, the a note appears already on the second beat of the bar (like the b note 4 bars later). The notation of As suggests that the original idea was even more regular – chords changed every bar: .

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes